New season's conflicts with L.A. Screenings.

Possibly, the entertainment divisions of the four U.S. TV networks don't even know what the L.A. Screenings actually are. What international TV executives call the L.A. Screenings, for most Americans the event moves exclusively on three different fronts: developments (projects), commitments (new TV season) and upfront markets (advertising). These network divisions decide when the "announcements" will be made, regardless of the international broadcasters' needs.

Subsequently, the pilots selected for the new season (1994-95) are analyzed by the network sales divisions (air time) for presentations to advertising agencies and clients (upfront market). Commercial time for the new season is purchased in advance at pre-set rates with the hope that each party makes a good deal.

The international contingent, ably shepherded by the studios (which have the largest number of developments for consideration), has to adapt to the networks' whims. Even the development people at the studios or independent production houses don't have time for the international broadcasters and their international sales executives, taken as they are by the networks' fee negotiations, number of episodes commissioned, talent requirements and script change demands. But, not to worry. Production execs have already got some inkling from their international experts on how much a show could fetch worldwide. Independent producers put their shows up for bidding by international distributors. These worldwide license fees are vital to cover the deficits between the network fees and the actual production costs.

So, the new U.S. TV season is shaped by a combination of factors: The networks' financial health, fees offered to producers, past season performances, weak spots on the schedule and advertising acceptance. Fortunately, the U.S. syndication market offers an alternative to producers who aren't accepting the networks' demands or rejections. Even though the U.S. networks are now experiencing a renaissance, this new season is expected to be uneventful, if only from the international perspective. Indeed, combined networks' prime-time shares are now averaging 61 per cent, up one per cent from the past season. National advertising is also growing, while license fees to producers are going down. Not inclined to nix their in-house produced shows, the networks this time around will be "cherry-picking" fewer new programs.

For example, last year out of 125 shows in development, the network picked 68. This year, from 112 new programs in consideration, the nets are expected to select fewer than 40. These, plus the ones renewed for an additional season are needed to fill some 80 network prime-time hours per week.

With 13 dramas (three from CBS Entertainment) and 15 comedies (two from CBS Entertainment) in development, CBS could be called the serious network. Fox is inching its way toward dramatic television, with three dramas already ordered (Mantis; Models, Inc.; and a Joel Schumacher project) and eight in development (one from Fox Productions). Comedies in consideration at the young network total 18 (two from Fox Productions). Second in the rating race (after CBS) is ABC, which doesn't seem to need too many new shows. The network is stingily replacing six programs. This even though ABC has commissioned 11 comedies (two from ABC Productions) and eight drama series (one from ABC Productions). NBC, the perennial third, was looking at 10 new comedies (three from NBC Productions) and nine dramas (two from NBC Productions).

Finally, Warner Bros. tops all known records by having in development the incredible number of 31 shows (five from HBO). Warner is followed by Columbia with 15 projects, MCA with 11 projects and Paramount/Viacom with eight shows in development. The good news is that, at least at the development level, this time the 46 drama series trail closely behind the traditional long list of comedy projects, which is set at a meager 58 this year. The balance of projects are reality shows.

Ironically, the year in which the nets "get dramatic," the number of dramas picked is low. In any case, according to advertising maven Paul Isacsson of IDM, CBS will try to uphold its supremacy by being innovative. In addition, CBS' new programming head Peter Tortorici will surely try to put his stamp on this upcoming season.

Fox, in Isacsson's view, is mistakenly expanding their viewership by going after the older crowd. Traditionally, Fox has been very successful with the younger audience. Reality shows, on the other hand, are losing steam. What Isacsson calls "pulp" programs have not been well accepted by advertisers, even though "it is hard to imagine more drama than reality," commented Isacsson.

Finally, on the upfront market, Isacsson sees a small increase in air time rates and volume.